Physical available via Boomkat.
Tim Zha aka Organ Tapes makes a hyperjump to Worldwide Unlimited with an emotionally slushed set of singer-songwriter pearls spiked with his own idiosyncratic production moves. An investigation into big-hearted American alt-country and acoustic pop, it sounds like a DIY inversion filtered thru the autotuned hypersonix with avant stylings.
For over a decade now, Organ Tapes has been masterminding his own obsessively-curated and unique style, channeling an interest in pop and experimental modes through the lens of a British-Chinese artist who's spent his life between Shanghai and London. Through production work for Triad God and releases for Tobago Tracks, Genome6.66Mbp and Berlin's much loved Creamcake, he's developed a style that's pretty much inimitable, with autotuned vocals informed by a long-term love of dancehall, afrobeats and Soundcloud rap, and songs that slip into folk and country, with a compositional mindset that's unmistakably non-Western.
"唱着那无人问津的歌谣 / Chang Zhe Na Wu Ren Wen Jin De Ge Yao" (sing the song that no one cares about) expands on the misty landscapes of 2019's TT-released "Hunger In Me Living," but while that album retained a wisp of R&B and a vague whiff of ambient, this new one feels firmly grounded in a bedroom pop aesthetic, allowing beams of sunlight to crack through his usually dense, textured clouds. Weft around guitar and vox, Organ Tapes bends the form by employing muffled field recordings, squashed drums and dreamy synths, assembling his tracks with the sort of diaristic warmth you'd expect to find on a claire rousay record.
It's not a million miles away from Conor Oberst's electronic diversion "Digital Ash in a Digital Urn" either, but Zha positions himself a few feet away from indie and emo, instead channeling more sparkling influences like TV themes and advertising jingles. His earworm compositions drip with familiar-but-alien riffs, with hooky choruses rendered personal and heartfelt through low-key, lo-fi production smarts. In different hands, it might have all sounded overly exuberant, but anchored by Zha's muted voice and shaved arpeggios, it's touching and indelible.
There's no cynicism here either - the songs work because they come from a genuine place. Just listen to 'Heaven can wait' and tell us you ain't feeling it.

Digitally remastered CD debut with 2 bonus tracks of album originally only available in split box set also featuring Nurse With Wound & Sol Invictus. One of the bonus tracks is previously unreleased. Also included is a 12 page booklet with full lyrics & full color artwork. 6 tracks in all.

When words trail off at the beginning of claire rousay’s “everything perfect is already here,” ornate instrumentation is waiting to fill a void left by the breakdown of language. Yet it becomes clear as we trace rousay’s collaged sonic pathway that breakdown, of meaning and also of melody, is also a place to rest. everything perfect… is made up of two extended compositions that cycle between familiarity and unknowing. There are seemingly infinite ways to feel in response to these pieces of music, which shift tone across their languid duration, earnest like a familiar song but unbound from the emotional didacticisms of lyrical voice and pop form.
rousay builds a fluid landscape around the acoustic contributions of Alex Cunningham (violin), Mari Maurice (electronics and violin), Marilu Donovan (harp), and Theodore Cale Schafer (piano), whose respective melodies weave gently in and out, sometimes steady, sometimes aching, sometimes receding altogether in deference to less overtly musical sounds. That is, percussive texture in the form of unvarnished samples and field recordings: the rattle and rustle and the stops and starts of life unfurling, voices sharing memories nearly out of reach, doors closing, wind against a microphone. Everything comes from somewhere in particular, possessing the veneer of the<span><span class="bcTruncateEllipsis">...</span></span><span class="bcTruncateMore" style="display:none"> diaristic, but sound’s provenance is secondary here and so these details become tangled and fused. On this release I hear such details not as individual ornaments or stories but the collective architecture of the greater composition. It’s an architecture that is not quite formed and thus full of openings out to the world unfolding.
“The world unfolding,” that’s a kind way of saying change, movement, loss, transformation. Things rousay here indexes, not without shards of desire or pain, still somehow what I hear is coarse peace in the in-between. These two pieces sweep you away and then bring you to earth, but which is which, anyway? Where am I now? What is different outside of me? What is different inside of me? Um. I think. everything is perfect is already here, like the answers to these questions, is loose and beautiful in surprising ways.
The music guides a certain experience of the world around. In claire’s music there is this marriage—not just a pairing or juxtaposition but an interrelationship, an eventual confusion—of song/texture, narrative/abstraction, figure/ground. Everything comes from somewhere in particular but not just the voices, the field recordings, the what is being said or meant, what matters is “the where you are now.” There are so many ways of anchoring oneself in the present, some have to do with fantasy or storytelling and some with accepting what is.
These two compositions find peace between these modes. They sweep you away and then bring you to earth, but which is which, anyway? Their mode of feeling is inquisitive. Where am I now? What has changed outside of me? What has changed inside of me? The music, like the answers to these questions, is loose and beautiful in surprising ways.</span><span>&nbsp; <a>more</a></span>releases April 22, 2022

All music by claire rousay
with alex cunningham (violin), mari maurice (electronics, violin), marilu donovan (harp), theodore cale schafer (piano).

artwork by katie fuller
layout by bartolomé sanson
mastered by stephan mathieu
1. it feels foolish to care (15:05)
2. everything perfect is already here (15:11)
shelter press 2022 SP134

タイ、東南アジアを代表する映像作家であり、日本だけでなく世界中で、映画監督、アーティストとして注目を集めるアピチャッポン・ウィーラセタクンの映像作品に使用された数々の楽曲を一枚にコンパイルしたアルバムが遂に発表される。
昨年末には東京都写真美術館の総合開館20周年記念として開催された個展「亡霊たち」で大成功を収め、今年2月のTPAMでは上映パフォーマンス「フィーバー・ルーム」を上演、4月からワタリウム美術館で開催された「坂本龍一｜設置音楽展」でもコラボレーターとして参加している。
現在、SCAI THE BATHHOUSEにてカナダの俳優、コナー・ジェサップを起用した作品も含む新シリーズを個展「Memoria」で発表中（8月4日迄）、森美術館での「サンシャワー:東南アジアの現代美術展 1980年代から現在まで」（10月23日迄）では、チャイ・シリとの共作で巨大なゾウを美術館入口に宙吊りするなど、話題作を常に提供している。
2010年「カンヌ国際映画祭」最高賞（パルムドール）受賞した長編映画『ブンミおじさんの森』（2010年）をはじめ、初の舞台作品「フィーバー・ルーム」（2015年）他、アピチャッポン監督の作品に使用された楽曲を全14曲収録し、音源だけでも楽しめる素晴らしい作品に仕上がっている。
アピチャッポン作品の音楽に携わってきたリット（アックリットチャルーム・カンラヤーナミット。：2004年の『トロピカル・マラディ』以後、アピチャッポン監督のインスタレーション等も含む全作品で音響・ミックスを担当）と清水宏一（Numb主宰のRevirthからソロ作もリリースしているタイ在住のサウンド・アーティストで、アピチャッポン監督の最新映画にも参加）が自らのプロデュース楽曲の提供のみならず、アルバムのコンパイルも担当している。
マスタリングは、ベルリンを拠点とするサウンド・アーティストにして、マスタリング／カッティング・エンジニアとしても有名なラッシャッド・ベッカー（RASHAD BECKER。名門Dubplates & Mastering）が担当。
日本先行発売（海外ではSUB ROSAより発売予定）。

Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies. Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv and later in Leningrad (now St. Petersburg) from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 through to 1983, her repertoire included music for violin and later expanded to contemporary music composition. The improvisatory nature of free jazz and then budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop- Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one in flux by way of earnest curiosity.

We find ourselves increasingly in a swell of solastalgia. Day to day, a vision of what might come to pass builds; one dystopian impression at a time. Solastalgia is not a new phenomena however, rather it has haunted us over the centuries. Change has never been humanities’ strong suit, but it has been our shadow. The perpetual ruptures in what we know and how we live are an inevitability; time takes no prisoners, no matter how tightly we might grasp things from moment to moment.
It’s here, at this fractious nexus of unpredictability and an absence of control that Rafael Anton Irisarri has created his latest work. Building on the echoes of landscape that guided his previous Room40 editions, Solastalgia imagines that which is not yet known. It traces possible terminus points for futures that many of us will not live to see. Utilising a range of unexpected variables, automations and uncontrolled systems in the creation of the recordings, Irisarri has developed a new approach to his work, seamlessly weaving together intense layers of texture and saturated harmony.
Within these works, distant melodies emerge and in their wake the listeners’ focus shifts again and again. A never ending loop of the unconscious feeding into the conscious is formed. Whilst the skeletal form of pieces such as 'Coastal Trapped Disturbance' might remain, the organic matter that is the body of the music is in a process of persistent transformation. These subconscious variations morph the pieces from within. This is a record of sublimation, and dwells in states of transition and becoming.
Recorded in two suites (one released on LP and the other available initially only on limited edition cassette) , each section is a distorted mirror reflection of the other. Solastalgia stands as a landmark undertaking for Irisarri, it encourages us to remain unsettled and attentive in the moment, and prompts us to listen deeper and imagine what lies beyond or in excess of our expectations.

On his new album 'Observation of Breath' for the Swiss-based Hallow Ground label, Lawrence English works exclusively with an organ for four compositions that are exercises in "maximal minimalism" as their creator himself notes in a nod to Charlemagne Palestine, who coined this term.
"While it seems somewhat fitting that those four pieces based on a steady flow of air were conceived and recorded in a situation of accelerated standstill caused by a respiratory disease, the Room40 founder is not so much concerned with capturing the zeitgeist than rather incorporating the spirit of time itself. »It is a record about presence and patience,« he explains. Exploring the unique sonic affordances of a singular instrument, »Observation of Breath« is not only devoted to the durability of sound but also to its density. That it marks his debut on Hallow Ground after having shaped its sound by mastering most of the label’s releases in recent years is just as fitting then as its release following albums by Kali Malone and FUJI|||||||||||TA, whose innovative work with organ instruments have facilitated a rediscovery of their possibilities.English’s compositions however are neither directly indebted nor responding to these musicians.
His exploration of the organ’s many facets started a decade ago when the composer was given access to an instrument built in 1889 that is presently housed at The Old Museum in Brisbane. After it had already played a crucial role on his seminal albums »Wilderness Of Mirrors« and »Cruel Optimism,« last year’s self-released »Lassitude« was the first record that English entirely composed and recorded with that instrument. »During the soft lockdowns, I spent many days playing to an empty concert hall, recording the pieces that became ›Lassitude‹ and then, this album,« says English in regards to an unfortunate situation that fortunately provided him with time and space—two major themes but also key qualities of the four new compositions. In this sense, he goes on, »Observation of Breath« resolves a number of the questions originally raised by »Lassitude."

Issued in 6-panel digifile with 90-page booklet with liner notes in French and English. Digifile and booklet housed in a O-case.

Bitches Brew is a studio double album by jazz musician Miles Davis, released in June of 1970 on Columbia Records.[1] Recording sessions took place at Columbia's 30th Street Studio over the course of three days in August of 1969. The album continued Davis' experimentation of electric instruments previously featured on his critically acclaimed In a Silent Way album. With the use of these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of a looser, rock-influenced improvisational style.
Often cited as one of Davis' best-selling albums and masterpieces, Bitches Brew marked a turning point in modern jazz. Upon release, it received mixed criticism from fans and critics, alike, due to the album's unconventional style and revolutionary sound. Later on, Bitches Brew gained recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and funk musicians.[2] In 1998, Columbia Records released The Complete Bitches Brew Sessions, a four-disc box set that included the original album as well as ensuing studio sessions through February 1970.

Dedicated to all indigo children.

Shutting Down Here is a special work. Symbolically, it covers a period of thirty years, between two visits by Jim O'Rourke to the GRM, the first, as a young man fascinated by the institution and his repertoire, the second, as an accomplished musician, influential and imbued with an aura of mystery. Shutting Down Here is a piece shaped like an universe, a heterogeneous world in which collides the multiple musical facets of Jim O'Rourke: instrumental writing, field recordings, electronic textures and cybernetic becomings, dynamic spaces, harmonic spaces, silent spans . This variety of approach, strangely, does not in any way weaken the coherence of the whole and this is the talent of Jim O'Rourke, a talent, properly speaking, of composition, where all the sound elements compete and participate to stakes that exceed them and of a common destiny, that is to say of an apparition.

rRoxymore's long-anticipated debut album, Face To Phase, was born of her annual creative hibernation practice. Whereas her previous appearances for Don't Be Afraid - Thoughts Of An Introvert, Parts 1 & 2 - revealed inner worlds of saturated colour and natural expressiveness, she retreated into her studio at the turn of winter 2018 occupied with the idea of dismantling the dancefloor-centric pressure paradigm.
The resulting album, Face to Phase, finds rRoxymore methodically and mindfully stripping back to fundamentals: rumbling minimalist dub, sparse polymetric drums, boldy unpredictable melodic narratives and subtleties which hover out-of-reach or disappear into vapour. Forged by the spirit of club music cultures, Face To Phase favours deep listening; resisting the temptation to reflect on the past or project towards the future, it's an album that is firmly rooted in the contemporary.
Sparked by her own archive of field recordings, and produced primarily but not exclusively in the box, Face To Phase adds several facets to rRoxymore's already wide repertoire. The pensive and beatless opener "Home Is Where The Music Is" was inspired by her longtime friend Planningtorock, while "Forward Flamingo" is a spiraling dream-state of house music dissociation; elsewhere "Energy Points" remains anchored to the ocean floor, radiating heavy dub waves, "Passages" is a ghoulish skeleton of UK break beats, "What's The Plan" closes the album in a blissfully blunted fashion, while twisting, shape-shifting rhythms push and pulse "PPS21" into series of ever-evolving shapes and forms.
Through and in between the eight songs of Face To Phase, rRoxymore fortifies her status as a seasoned artist, grounded by over a decade of live performance and touring, collaboration, composition and experimentation. With a new live performance collaboration with a percussionist set to debut the LP at Atonal on 1st September, rRoxymore is primed to expand her reputation even further as one of the most vital and distinctive artists on the fringes of contemporary club culture.

虽疫不止造安境 朝简虚拟制泰音…
出品人：杨子江
制作：窦唯
录音混音：陈林 罗皓 李杰
录音时间：2010 2019 2020 2021年
录音棚：陈林音乐工作室 董冬冬音乐工作室 李乐府工作室
鸣谢：陈林 子江玉友团队及所有为录制提供帮助的爱乐者们！